Roberto Loreggian - Frescobaldi: Complete Unpublished Works for Harpsichord and Organ '2021

Tracks list

Tracklist

01. Toccata Per Organo, F 14.02.01
02. Canzona Che Segue Alla Toccata, F 14.02.02
03. Toccata Per Organo, F 14.03
04. Capriccio Fatto Sopra Il Cuccù, F 14.05
05. Toccata Per Organo Con Pedali, F 14.06.01
06. Canzon Dopo La Toccata, F 14.06.02
07. Toccata Per Organo, F 14.08
08. Canzona, F 14.09
09. Ricercare, F 14.10
10. Ricercare Cromatico, F 14.11
11. Toccata Sopra Li Pedali. Fuga, F 14.27
12. Ruggiero, F 14.28
13. Recercare, F 14.29
14. Canzona, F 14.32
15. Balletto Primo, F 2.21
16. Corrente Del Balletto, F 2.22
17. Passacagli, F 2.23
18. Balletto Secondo, F 2.24
19. Corrente Del Balletto, F 2.25
20. Passacagli, F 2.29
21. Recercare, F 14.30
22. Canzona, F 14.31
23. Recercare, F 14.33
24. Canzona, F 14.34
25. Toccata, F 14.36
26. Aria di Fiorenza, F 14.38
27. Recercare, F 14.39
28. Corrente, F 14.43
29. Toccata, F 14.45
30. Aria Detta Balletto, F 14.46
31. Ciaccona, F 14.47
32. Partite Sopra L'aria di Fiorenza, F 14.01
33. Capriccio, F 14.04
34. Toccata Prima, F 14.12
35. Toccata Seconda, F 14.13
36. Toccata Terza, F 14.14
37. Canzona, F 15.51
38. Toccata. Canzona, F 15.52
39. Toccata, F 15.53
40. Canzona, F 15.54
41. Toccata, F 15.55
42. Passacagli, F 14.49
43. Balletto, F 14.61
44. Corrente, F 14.62
45. Corrente, F 14.72
46. Gagliarda Del Frescobaldi
47. Gagliarda
48. Toccata Del Signor Girolamo Frescobaldi, F 14.73
49. Corrente Del Sig.R Ger Fb, F 14.74
50. Corrente I
51. Corrente II
52. Corrente III
53. Corrente IV
54. Toccata
55. Canzon Francese Del Terzo Tono
56. Ruggieri, F 13.12
57. La Monica, F 13.13
58. Toccata/ Corrente/ Aria Detta Balletto/ Monica/ Corrente/ Allamana/
Balletto/ Alio Modo/ Sarabanda/ Aria Detta La Frescatanna/ Toccata/ Corrente/
Toccata/ Toccata a Mò Della Romanesca, F 13.15-29
59. Onesta/ Corrente E Folia/Corrente/ L'aria Del Gran Duca Del
Frescobaldi/Corrente/ Corrente
60. Toccata, F 14.26
61. Canzon Prima, F 14.15
62. Canzon Seconda, F 14.16
63. Canzon Terza, F 14.17
64. Canzon Quarta, F 14.18
65. Canzon Quinta, F 14.19
66. Canzon Sesta, F 14.20
67. Canzon Settima, F 14.21
68. Canzon Ottava, F 14.22
69. Canzon Nona, F 14.23
70. Canzon Decima, F 14.24
71. Canzon Undecimal, F 14.25
72. Fantasia, F 14.56
73. Ricercare, F 14.57
74. Toccata, F 14.58
75. Primo Verso Per La Gloria De Santi Doppi
76. Kyrie
77. Toccata, F 14.60
78. Toccata, F 13.01
79. Toccata, F 13.02
80. Ricercare, F 13.03
81. Toccata Per L'elevatione, F 13.04
82. Ricercare, F 13.05
83. Canzona, F 13.06
84. Canzona, F 13.07
85. Toccata, F 13.08
86. Ricercare Canzona, F 13.09
87. Canzona, F 13.10
88. Corrente I di G.F., F 15.13
89. Corrente II di G.F., F 15.14
90. Corrente III (2)
91. Corrente IV di G.F., F 15.15
92. Corrente V
93. Corrente Vi
94. Sonata Prima, F 15.60
95. Sonata Seconda, F 15.61
96. Canzona Frescobaldi, F 15.41
97. Toccata Primi Toni Frescobaldi
98. Fuga Primi Toni Frescobaldi, F 15.43
99. Canzon Secundi Toni Frescobaldi, F 15.44a
100. Toccata Secundi Toni Caspar Kerl
101. Canzona
102. Toccata di Frescobaldi, F 14.70
103. Ruggiero
104. Aria di Fiorenza
105. Canzon Prima di Frescobaldi, F 16.51
106. Canzon Seconda, F 16.52
107. Canzon Decima, F 16.60
108. Canzon Decima Terza, F 16.62
109. Canzon Decima Quinta, F 16.63
110. Canzon Decima Sesta, F 16.64
111. Canzon Decima Settima, F 16.65
112. Canzon Decima Ottava, F 16.66
113. Prima Toccata
114. Seconda Toccata
115. Terza Toccata O di Canzone
116. Quarta Toccata Piva
117. Toccata I Del Sig.R Frescobaldi, F 15.03
118. Toccata II Del Frescobaldi, F 15.04a
119. Toccata III Del Sig.R Frescobaldi, F 15.05
120. Toccata IV F.Baldi, F 15.06
121. Toccata V Del Sig.E Frescobaldi, F 15.07
122. Toccata Vi F.Baldi, F 15.08
123. Toccata VII di Frescobaldi, F 15.09
124. Toccata VIII Del Sig.R Frescobaldi, F 15.10
125. Partite Sopra Un Aria Romana Detta La Manista, F 15.30.01-06
126. Rugier Del Sr Frescobaldi, F 14.64
127. Corrente, F 15.16b
128. Corrente, F 14.71
129. Toccata, F 14.59
130. Capriccio, F 15.17
131. Capriccio di G.F., F 15.18
132. Canzon di Girolamo Frescobaldi, F 15.19
133. Verso, F 15.20
134. Canzon
135. Corrente, F 15.59
136. Corrente D'hercole Pasquini, F 15.16c
137. Folias
138. Corrente
139. Corrente Del Sig Girolamo, F 15.16a
140. Romanesca
141. Aria di Ruggiero
142. Toccata (2)
143. Romanesca Del Frescobaldi, F 15.02
144. Ruggiero (2)
145. Corrente Del Frescobaldi, F 15.01
146. Capriccio Del Signor Girolamo Frescobaldi, F 15.26.01/02
147. Fantasie Du Seig.R Hierosme Frescobaldi, F 15.28
148. Toccata di Roma Sexti Toni, F 15.50
149. Corrente Frescobaldi
150. Toccata Per L'organo Col Contrabasso Overo Pedale di Frescobaldi, F 15.11
151. Toccata Tertii Toni, F 15.04b
152. Canzona, F 15.33
153. Fuga Fresgobalti, F 15.35a
154. Canzona Frescobaldi, F 15.36
155. Canzona, F 15.37
156. Canzona, F 15.40
157. Fuga Frescobaldi Gu Gu, F 15.42a
158. Hinno Per Le Domeniche di Tutto L'anno, F 14.65
159. Hinno Della Pentecoste, F 14.66
160. Hinno Delli Apostoli, F 14.67
161. Hinno di Natale, F 14.68
162. Kyrie Degli Apostoli
163. Elevatione Del Frescobaldi
164. Corrente (2)
165. Elevatione Del Medesimo
166. Ricercare, F 18.10S

This new recording presents the complete unpublished works for harpsichord and
organ, a collection of Toccatas, Canzonas, Correntes, Sonatas and Ricercares.
With this release Roberto Loreggian completes his Frescobaldi odyssey.

The son of an organist, he was born in the northern city of Ferrara into a
wealthy family. His employer, the Duke Alfonso II d’Este was obsessed
with music, and spent several hours a day listening, spending considerable
financial resources into music making at court. Young Frescobaldi obviously
thrived in this environment for he soon took up employment for the Duke of
Mantua, and later became organist to the Medici in Florence from 1628-34. He
then went even further by moving to Rome to work for the Barberini family of
Pope Urban VIII. In this elite society he mingled with such names as Gian
Lorenzo Bernini and Pietro da Cortona. Although Frescobaldi was influenced by
numerous earlier composers such as the Neapolitans Ascanio Mayone and Giovanni
Maria Trabaci and the Venetian Claudio Merulo, his music represents much more
than a summary of its influences. Aside from his masterful treatment of
traditional forms, Frescobaldi is important for his numerous innovations,
particularly in the field of tempo: unlike his predecessors, he would include in
his pieces sections in contrasting tempi, and some of his publications include a
lengthy preface detailing tempo-related aspects of performance. Girolamo
Frescobaldi (1583-1643) remained the organist at St. Pietro's in Rome for a good
part of his life.

A decade on from the release of this much praised, definitive edition, Loreggian
has returned to Frescobaldi and gathered up many much less well-known pieces to
be found in manuscript collections across Europe. In some cases these are
alternative or earlier versions of published works. One hallmark of the
Frescobaldi style is its restlessness, or appetite for change which speaks to
our age even more than his own. Even within the established form of a given
genre such as a toccata, Frescobaldi bends and stretches the rhetoric, leaps
forward in harmony and holds back the phrase with a sophistication worthy of
ancient rhetoricians such as Cicero.
It follows naturally that these pieces were created in a method of continual
transformation. While following the course of his compositional style invites
the listener on a journey of more than academic interest, the appeal of this set
resides no less in the sheer fertility of invention on offer. Frescobaldi always
encouraged his performers to play with spontaneous freedom, a kind of liberated
intensity, which requires complete immersion in the style and the world of this
music to pull off successfully.

Roberto Loreggian has taken a no less imaginative approach to his choice of
instruments for this substantial projects, especially in the choice of organs.
CDs 1 and 4 are recorded on a 1998 Zanin organ built for the Chiesa di
S.Caterina, in Treviso; CDs 3 and 6 on a well preserved but spicily mean-toned
instrument from 1565 in the Basilica palatina di Santa Barbara at Mantova. These
are both large instruments, affording formidable weight as well as the high,
bright stops which predominate in the registration of this music.

The set is an essential acquisition for anyone with more than a passing interest
in early keyboard music.



DOWNLOAD ALBUM [Hi-Res] part1
DOWNLOAD ALBUM [Hi-Res] part2

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